William Demeritt

With Craigslist, you'll learn (the hard way) all the things you need to ask and double check with certain types of productions which you'd probably just assume anywhere else (in the professional world). These things include: 12 hour day (or less) Production insurance (not just gear insurance, but injury insurance) Overtime agreements Reasonable payment terms Limitations of Steadicam or shots expected with Steadicam ("We need to jump from the fence...") Meals and craft services Expectations ("Can you help light when you're not shooting? We'd like to have an extra set of hands.")

Just use the acronym IASMMCAOTPAINFOOMCL next time.

Just as a thought for the car situation: maybe consider getting a Zipcar account? Make quick rentals, go pick up your car, use it for the time period you reserve and return it. Gas and insurance are included in the price. That offers flexibility for when you just need a car for a gig one day, but can make other arrangements another day. Prices are pretty low as well, as far as hourly or daily rates go.

Just relax, it won't hurt after the first couple minutes ;) If you already know some of the shots, you're already ahead of the game. Brush up your skills (or at least your reading) on dynamic balance, if only knowing how to approximate it with the sled you'll have. First job: have fun with it, smile, don't take too long or second guess yourself with anything, and most importantly: COMPOSITION COMPOSITION COMPOSITION.

Something to consider: 1. That operator is standing on his right foot for some reason, maybe tiptoes on his left foot to maintain that position... or... 2. The operator is standing on both feet, square to the photographer, and the post is actually several degrees pitched left. If this is true, it's actually advertising that the device doesn't work. That leads me to believe they adjusted the photograph in Photoshop to make the post vertical, leading back to option 1's bizarre posture. Oh well. Someone will buy it, and 6 months from now, some low budget film will chastise me for not having that gear in my kit after someone had it on another shoot. Vicious cycle, I tell you...

Cool, now I know the Spanish ops' rates! Time to undercut! I'll even fly myself to Spain!

I think this statement is contrary to good operating. As the caretaker of the vision the director is entrusting to you, I think it becomes my job to quickly tell people what needs to be fixed. If I notice problems, I mention them immediately. If the problems are ignored, or impossible to correct, I suggest ways to fix them (add a beat to the actor's movement, give a reason to recompose, motivate from somewhere else, etc). Ultimately, I don't see recommendations for things that need to change in order to successfully execute a shot as things that "slow down" production. Everyone on set has a common purpose: get the shots needed. That work needs to take place, and it's a lucky day when you never need to change anything from take to take. Assert yourself, tell them early and quickly what needs to change to fix the shot. You're the caretaker, so it's your responsibility to spot when lights are hung too close to the shot, the trucks are visible, maybe the extras need to find another staging area for this shot, etc. If they are absolutely unwilling to make the changes, then go ahead and do the shot, and you'll do your best to fix it. As for "seemingly unplanned, unprepared-for shots", that's when you still gotta be on point. Some of the coolest shots I've done were sudden ideas. Encourage that kind of collaboration, and offer easy ways to make the shot go smoothly. Stay on set, know the blocking, interact with your G&E brothers early when you see a dangerous light, etc. Lastly, some directors are just small, frustrated bundles of energy, and they want to get you on the same page. My mantra: "what's your action and your cut for this scene?" I've had directors try to race ahead and explain the blocking of the entire scene, and compress 3 scenes into one description of camera movement. Just bring them back: "Ok, we'll get to that, but I really want to make sure we have this scene blocked. So, here's my 1, I move, turn, come around and land here, step forward, lock off for the dialogue and you say cut. Right? OK, that's one scene, now what's next?..."

Peter, I have a PRO monitor on my sled, which is smaller than the 8.4" UltraBrite2 HD monitor's screen I used to operate off. When I say "compact size monitor", I mean that with a smaller screen size, my eyes can more quickly scan over surface area of the screen (and comprehend the image) than on a larger screen. I already feel like I am absorbing more information as I operate on the PRO monitor, since I can recall more elements throughout the take. I guess I'm OK with a smaller image, as I like being able to comprehend the entire frame at a quick glance, especially when my eyes glance away to check my marks and surroundings and then come back to operating. I just flew the RED framing 2.40:1 on a short film Monday, and even with the 4:3 PRO, I felt fine operating. Try out someone else's monitor, see how it feels?

As an iPhone junkie, I've started using Bento to manage this information when away from my computer. I had fields for everything, plus who referred me job, rates, notes and dates. Thanks to the iPhone, I can talk while filling out the fields. Bento is essentially a personal database app, where you create the fields of the database, enter the info, can link to other databases, etc. Made by Filemaker. Further, there's a powerful desktop client (also called Bento) which syncs with the app. From there, I can sync to iCal and address book. On the desktop client, I can also attach PDF docs to track call sheets, etc.

Is this item still for sale?

Since I started, I had operated off an HD UltraBrite2 monitor. Now, I fly a PRO2 with the PRO monitor, and I must say I absolutely LOVE the green screen monitor. I get a lot of questions and comments: "Why do you have the green monitor?", "Why don't you have an LCD?", or my favorite "It's only standard def? So it's not compatible with the RED?" (I prefer to think the RED isn't compatible with it, Decimator fixes that problem). I have to say, the PRO monitor new has a huge price shock. Further, it eats through my batteries like mad. However, I have absolutely fallen for operating off it. The image is compact, so I need not scan a huge surface area, checking corners and watching for other elements. In full daylight, I can still see the image without additional shading. I guess what makes a good monitor for me is versatility, battery life, image size (how big of a screen do I really need?), brightness, how it interacts with my sled (balancing and operating, both off the monitor and functioning as an element of my sled).

I live in North Hollwood / Burbank, have Blue Shield CA dental PPO. Can anyone refer me to a competent dentist somewhere nearby? Preferably someone you or your friends/loved ones go too and can vouch they do quality work? Many thanks in advance!

You may not know any other operators well enough to borrow rigs to practice, but we're all eager to practice with someone in a larger group or practice session. Try and get in touch with other operators in your area, ask if you can come to their practice sessions, and maybe someone will let you fly their rig. If you don't have a vest, that may make it problematic, but who knows. Lots of generous people out there!

Brad, Just a few quick questions: does your sled have an SD or HD monitor? What kind of rig do you have, actually? If you have an HD monitor, then yes you'll need an HDMI to HDSDI converter. The 7D has a "mini" HDMI port, so make sure you have a mini-HDMI to HDMI cable. If you have an SD monitor, then make sure you have the AV breakout cable (one end looks like a mini-USB plug, other end is composite video/audio (yellow RCA plug). Get a female RCA to male BNC connector, and you'll be OK. Wouldn't hurt to have a backup cable, or even own one, they sell for $20 online. The 7D has a camera shut-off feature that usually annoys me to no end. If you set it to more than 5 minutes, you'll burn through batteries and possibly overheat the camera (if you're exterior). If you set it to 30 seconds - 2 minutes, you'll be rehearsing and the camera will shut off while playing. Make sure you have plenty of spare camera batteries and chargers. If you're just using still lenses, make sure you have lens gears so your follow focus will spin the lens. What sort of equipment will you have for the camera? Beware of matteboxes and iris rods that are flimsy plastic and mate to the 7D base. I've found they're incredibly weak, and if the lenses have any stiffness to the focus ring at all, the motor will push the lens and camera away.

Nick, with all due respect, you seem to have this notion that the Steadicam community includes know nothing "beginners", you, and then A-list operators. I happen to know many other operators on the tier you currently reside, and we're all eager to solve the problem of "I want the Producer to hear the same rate if they'd called anyone else." I see the benefits of having an A-list or veteran operator in the room, just from an experience point of view. However, the operating rates of the A-list operators, or the Union operators, is not really a secret. Neither is how to calculate kit rentals. More specific things, we can all benefit from hearing a seasoned opinion, and that's why we ask them in private. The largest value of getting everyone into the same room (even figuratively) is to give the other operators a glimpse of what we're charging. Those other operators may think we're charging too little, and offer what they charge. On the other hand, other operators may realize they're charging a pittance compared to what similarly experienced operators are charging. Since we're informal, all we can really do is share experience and our rates, and offer our word that we'll uphold a minimum price because we know everyone else will back our rate.

The internet is serious business. Ironically, instead of offering positive contributions, ideas for how to resolve the issue, or offering a venue of your choice for this conference of Steadicam operators, you "kicked your feet up and complained." Make no mistake, the A-list operators have networked together, and still do. They pick up the phone, send a private email or PM. Maybe I am one of them, but we "newbie hacks" are also organizing as we speak. The more people on the same page, the better, so if you'd like to join the discussion, drop me a PM or email. p.s.- I happen to enjoy the good humor found in this community, if only because it gives the community the humility where I feel comfortable enough to ask anyone here a question. The veterans I know have never refused to answer an honest question. Maybe lisigav has greased the wheels?

I think that sounds like a proper idea.

Of course, far be it from me to defy the right-hand rule.

I usually approach it with the attitude that I want every shot to be the very best I can give them, because every performance may not be what they want. So, basically, yes: DP's and directors expect you to nail it on every shot. Whether you do or not is another matter, but the more good takes for camera, the happier they'll be when their good performance happens during one of those good takes.

You may not object to being challenged, fairly or unfairly, but some people might. What happens if someone is unfairly challenged, and that person has no access to the forums to properly defend themselves for days or weeks? Even if the person then properly explains themselves, the damage is done with the operators who haven't come back to read the refuting testimony. I think that doing our laundry in public should be discouraged for the same reason that discussions on rates are discouraged, but also out of respect for the damage done by a false accusation.

Yessir.

I was on another 7D job today, and I finally had to consider how to do low mode. I have a practice cage that I've outfitted with a Bogen universal plate for the camera and a 5/8" rod to mount the motor (something sturdy enough to not push away from the lens when focusing on stiff lenses). Of course, the way my top rod is mounted, it makes setting the dovetail to the top nearly impossible. I know how to future proof it so the option exists to go into low mode and camera be righted, but for today's purposes, I just went poor man's low mode. The MK-V seems to bind the camera into either normal mode or low mode, and going between the two appears to require a complete rebuild. Some of them appear with only normal mode in mind, counting on poor man's low mode when needed.

As an aside, consider the words of Francis Ford Coppola back in 1981 (disregard the title of the video): http://www.youtube.com/watch?v=zui4s0aLpr4 Recent story from here in LA: a director I've worked with as G&E since October 2008 has used me as a Steadicam operator on a few shoots. A week ago, I wasn't able to do a shoot for a rate he offered. He simply said, "I guess I'll have to find someone else." Sure enough, he found someone willing to come out, with equipment, to fly the RED (and I know their camera package, so it wasn't a Flyer) for $225. And no, not $225 for 12 hours... I know the director, that's $225 for "until I call wrap", which can go to 13 or 14 hours. No OT. Further, the operator was not a "new guy", or a new owner. He's apparently operated for many years. My friend gaffed the video, and he told me in conversation that the operator "never charged overtime" and that he "usually just stays around until it's all done." He also indicated he's never made more than $300 on a shoot (all included). I understand the pressure, I feel it now more than ever (after operating for 2+ years, I finally own a rig). Perhaps this operator is another example of someone who's slipped through the cracks, and we haven't had the opportunity to talk to him about rates? Perhaps the task is ours (the Guild, the community, etc) to reach out to those operators and plant the idea: here's what other operators with similar gear and more/fewer years of experience are quoting for the jobs. Here's the minimum they'll come out for, and for how long. When they realize they can, and should, be asking more for their services, perhaps that'll encourage them to do so? Lack of knowledge is the root of bad decisions. The more we educate and join together, the more we all prosper. Isn't that why unions exist in the first place? In the mean time, I'm going to try and get that operator's number, just to talk. Threads like this just seems like preaching to the choir.

Out of curiosity, what kind of stress testing have you performed so far? Maximum number of clients you've attempted watching the feed over RTP and HTTP live streaming? RTP to laptop over VLC means just one client is engaged with the Cube, which seems optimal to me. However, with the HTTP live streaming, how does the Cube handle multiple clients? Does it affect the Cube's video stream? Also, am I accurate in saying that with this system, your choices for monitoring are either an iOS device or a computer? So far, no "receiver" for video village to connect to an HD field monitor? Village now requires a computer, be it a laptop or desktop, to show off the received signal?

Well, I've actually been using Brian Freesh's practice cage lately, so I did a little light gripping for my HDSLR jobs: Quite a few of my 7D jobs lately haven't tried giving me a matte box, I'll be eager to see how my contraption works out. TOP: 18" long, 5/8" rod (also have 12" long 5/8" rod), 2 baby starter pins, 2 3/8" bolts through the top, 5/8" rod sleeve and 5/8" corner. Maybe $60 in hardware? I've mounted the motor to this rod, no issues with pushing the camera off/away. Depending on how popular the HDSLR jobs are, I may go to Modern and purchase some of their 5/8" rods in varying lengths that screw together to extend. BOTTOM: Bogen Manfrotto 357 Universal Plate ($46.95 at FilmTools). With the HDSLR jobs, I usually confirm with production that they have spare batteries for their camera. The Bogen plate was almost strictly so I can quickly pull the camera off, swap batteries, and reinstall it. Takes less than a minute, I can even do it without docking. Sydney, this was my $110 solution for the next 18 months, and it uses an existing practice cage.